Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Bangladesh and from Taipei.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1964 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Glasgow.
I'm losing my edge to the art-school Madrid kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the spring reverb sounds with much patience.
I was there when Lou Reed started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing The Index to the techno kids.
I played it at the Roxy.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Be Bop Deluxe. All the underground hits.
All Sister Nancy tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Modern Lovers record.
I hear that you and your band have sold your guitar and bought a 808.
I hear that you and your band have sold your 808 and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Residents,
Q and Not U,
John Holt,
Soul II Soul,
The Happenings,
Mission of Burma,
Gregory Isaacs,
Bobby Sherman,
Rod Modell,
Gian Franco Pienzio,
Heavy D & The Boyz,
Rhythm & Sound,
Pete Rock & C.L. Smooth,
Marmalade,
Slave,
Slick Rick,
Richard Hell and the Voidoids,
Lonnie Liston Smith,
the Association,
The Music Machine,
Red Lorry Yellow Lorry,
Kas Product,
Lou Christie,
Anakelly,
KRS-One,
Circle Jerks,
Bluetip,
The Busters,
Soulsonic Force,
The Zeros,
Tim Buckley,
Saccharine Trust,
Ash Ra Tempel,
Harry Pussy,
Dark Day,
Graham Central Station,
T. Rex,
The J.B.'s,
Jacques Brel,
Gil Scott-Heron & Brian Jackson,
Donald Byrd,
London Community Gospel Choir,
Quando Quango,
cv313,
Deepchord,
the Fania All-Stars,
Grandmaster Flash and the Furious Five,
Eddi Front,
Joe Smooth,
These Immortal Souls,
Delon & Dalcan,
Brick,
D'Angelo,
Bizarre Inc.,
PIL,
Nick Fraelich,
X-102,
Dorothy Ashby,
Joensuu 1685, Joensuu 1685, Joensuu 1685, Joensuu 1685.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.